Soundcraft B800 Audio Console

Our Soundcraft B800 is a vintage broadcast console made in England. It was originally purchased by the Bank of America for thier corporate studios, before it was sold or donated to a performing arts school, who sold it to us. The console itself has very high specifications and several features which makes it ideal for our recording studio. The console offers many routing options such as 2 stereo aux sends and 4 mono aux sends (usually configured for head-phone mixes) This high quality analog console was manufactured with almost the exact specifications as the Studer 928. It also has sweet EQ section and Group Limiting on the Group Busses and Stereo Busses of which there are 2 completely independent stereo busses. Cool! Sounds great!
Soundcraft B800 User Guide Soundcraft B800 Brochure
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Soundcraft Audio Recording and Broadcast Console

B800 Typical Specifications

Connections
Mic Input (XLR) >1.5kΩ balanced -72dBu to -6dBu in 6dB steps +27dBu max
with +/-6dB trim
Line Input (XLR) >10kΩ balanced -54dBu to +12dBu in 6dB steps +33dBu max
with +/-6dB trim
Insert Send (XLR) <60Ω balanced 0dBu (-4dBu Prefade) . +28dBu max (+25dBu into 600Ω)
Insert Return (XLR) >10kΩ balanced 0dBu (-4dBu Prefade) . +28dBu max (+24dBu Prefade)
Mono Direct Out (XLR) <60Ω balanced 0dBu . +28dBu max (+25dBu into 600Ω)
Stereo Direct Out (Multipin)
Group Insert Send (XLR) <60Ω balanced
Group Insert Return (XLR) >10kΩ balanced
Group Output (XLR) <60Ω balanced 0dBu . +28dBu max (+26dBu into 600Ω)
Aux Output (XLR) <60Ω balanced 0dBu . +28dBu max (+26dBu into 600Ω)
Monitor Output (XLR) <60Ω balanced 0dBu . +28dBu max (+26dBu into 600Ω)
Main O/P Insert Send (XLR) <60Ω balanced 0dBu +28dBu max
Main O/P Insert Return (XLR) >10kΩ balanced 0dBu . +28dBu max (+26dBu into 600Ω)
Main Output (XLR) <60Ω balanced 0dBu . +28dBu max (+26dBu into 600Ω)
Filter and EQ
Mono Input Stereo Input
Filters
High Pass Filter Freq 80Hz . 80Hz
Slope 18dB/Oct 12dB/Oct
Low Pass Filter Freq N/A . 12kHz
Slope N/A 12dB/Oct
EQ
High Frequency Freq 1kHz to 16kHz . 1kHz to 16kHz
Gain ±15dB ±15dB
Q Shelf . Shelf
High Mid Frequency Freq 500Hz to 8kHz . 500Hz to 8kHz
Gain ±15dB ±15dB
Q 1.2/2.5 . 1.2
Low Mid Frequency Freq 125Hz to 2kHz . 125Hz to 2kHz
Gain ±15dB ±15dB
Q 1.2/2.5 . 1.2
Low Frequency Freq 32Hz to 500Hz 33Hz to 500Hz
Gain ±15dB ±15dB
Q Shelf . Shelf
Auxiliaries
1/2 Mono Dual concentric Level Pre/Post fade switched in pairs
3/4 Mono Dual concentric Level Pre/Post fade switched in pairs
5/6 Mono Dual concentric Level Pre/Post fade switched in pairs
7 Stereo Dual concentric Level/Pan . Pre/Post fade switched in stereo
8 Stereo Dual concentric Level/Pan . Pre/Post fade switched in stereo
Oscillator
Switchable 100Hz, 400Hz, 1kHz, 10kHz plus 30Hz Slate override
Frequency Response
Any input into any output Measured at +50dB gain +0/-0.5dB, 20Hz – 20kHz
THD and Noise
Mic input to Group Measured at +20dBu output < 0.1% 20Hz – 16kHz
or Main output Measured at 0dBu output <0.02% @1kHz, <0.05% 20Hz – 16kHz
Mic input EIN (22Hz – 22kHz bandwidth, unweighted <-128dBu (150Ω source)
Mix bus output noise (32ch routed) Less than -80dBu
Mix Bus noise (no channels routed) Less than -88dBu
Line noise Less than -86dBu
CMRR Weights & Dimensions
Mic Input 80dB @ 1kHz
60dB @ 10kHz
Line Input 70dB @ 1kHz
50dB @ 10kHz
Crosstalk
Channel muting 95dB @ 1kHz
90dB @ 10kHz
Channel fader attention 90dB @ 1kHz
85dB @ 10kHz
Note: These figures are typical of performance in a normal electromagnetic environment. Performance may be degraded in severe conditions.
All measurements refer to electronically balanced inputs and outputs with VCAs enabled. Input and output transformers may affect these
specifications.

Frame Width Weight
24 833.72mm(324/5in) 128kg(281.6lbs)
32 1087.72mm(424/5in) 156kg(343.2lbs)
40 1341.72mm(524/5in) 195kg(429lbs)
48 1595.72mm(624/5in) 250kg(550lbs)
56 1849.72mm(724/5in) 280kg(616lbs)
Thanks to The Creative Team, Essex Radio plc, and Carlton 021, Birmingham.
inding the right desk for demanding
professional broadcast applications has
never been easy. The varied requirements of live
TV broadcast, production and live radio work,
and OB installations means that only highly
customised versions of existing mixers have
been suitable – especially when space is at a
premium. The Soundcraft B800 changes this.
The B800 is a specialised yet highly flexible
modular broadcast mixer, drawing on
Soundcraft’s experience of designing and
customising consoles for the broadcast audio
market. Extensive configuration options
available within modules mean that the
features and flexibility you would previously
have expected only on a customised desk are
available within the B800’s compact frame.
In terms of audio routing, remote control and
signalling facilities, the B800 sets a new
standard for versatility, and compact, ergonomic
efficiency.
Designed from the ground up as the key audio
component in broadcast installations, the frame
and electronics of the Soundcraft B800 embody
the highest standards of structural and
electronic integrity. Whatever the mix of highquality
studio sources and unpredictable remote
signals, the B800 ensures superior audio
performance. Modules are connected to internal
bussing via motherboard construction, audio
connections are via balanced XLRs, and all
internal mix busses are balanced to achieve a
high degree of isolation, noise and interference
rejection, and robust signal handling.
Five frame sizes are available, accepting up to
48 inputs. The desk can be configured with 8
mono or 4 stereo groups, and there are two
fully independent stereo master output
modules. 6 mono and 2 stereo aux sends are
provided. Extensive monitoring and cue
facilities include stereo AFL/PFL, and several
sets of speaker and phones outputs. There are 4
VCA groups for additional level control.
Custom F broadcast facilities from a standard console

Massive 33dB input headroom
24, 32, 40, 48, 56-module frames
8 mono or 4 stereo groups
Two fully independent stereo

master output modules

6 mono and 2 stereo auxes
Stereo AFL/PFL
LED indication on all switches
4 VCA groups
Wide variation in module audio and

logic/control functions via internal
links and jumpers

Flexible cleanfeed facilities via

Direct outputs on all channels

Versatile and highly configurable

monitoring via speakers and studio
and guest headphones

Limiters on mono and stereo groups

and master outputs

8 input with 6 monitor channel

surround module

Wide range of meterbridge options
Balanced audio inputs and outputs

throughout, on XLRs and EDACs

Balanced internal bussing
Motherboard construction
Momentary or latching Cue operation
Oscillator and slate oscillator
Manual or remote mute switching
External control
Remote start/stop
Incrementally switched input

channel gain
The Mono Input Module accepts a mic or line input, each via its
own rear panel XLR socket. +48V mic phantom power is individually
switched for each channel. The TONE switch applies a -60dBu signal
to the module pre-amplifier, to check module operation. Indicator
LEDs are provided for the LINE, TONE, and +48V phantom power
switches. The channel GAIN control offers 6dB switched increments, covering +6dB to +72dB gain on the mic input, and -12dB to +54dB of gain on the line input. The TRIM pot provides an additional +/-6dB of
continuous gain variation. The channel insert point can be switched
in and out; note, however, that the channel signal is always
available on the insert send XLR. The insert is configured pre or
post-EQ via internal jumpers, and pre or post-fader via an internal
switch.
The mono input EQ is a 4-band semi-parametric design, with a
phase reverse switch and high-pass filter (18dB/octave at 100Hz).
The HF and LF shelving bands both offer ±15dB, at 1kHz-16kHz and
32Hz-500Hz respectively. The two mid bands offer ±15dB bell response
filters, with Q switchable between 1.2 and 2.5, and swept
centre frequencies from 125Hz-2kHz and 500Hz-8kHz. An EQ in/out
switch is provided.
There are eight auxiliary sends. The mono Aux es 1-6 are controlled
by three pairs of dual-concentric pots, and are switchable pre/post fade
in pairs. Aux 7 and 8 are both stereo sends, with dual concentric
pots for level and pan control. Each can be switched to
pre or post-fade operation. The Aux 1 pot can also be switched into
the channel direct output circuit, with the DIR O/P switch. In this
mode the module’s feed to the Aux 1 mix is removed. The normally
post fade direct output is, in DIR mode, jumper selectable to be
pre/post fade.
The Pan pot positions the input signal within the main stereo mix.
With the PAN button depressed, the channel signal is sent left and right to odd and even-numbered groups respectively; otherwise the pre-pan signal is sent to all groups. The mute section, located after the optional low-pass filter, can be operated manually (with the
MUTE button) or remotely (via a 25-way D-sub connector). The
100mm channel fader offers +10dB maximum gain. In addition, any
of the four VCA group master faders can add an offset to the fader
level, via VCA GRP 1-4 switches. The 8-segment LED meter can be set to pre-fade or pre-EQ by an
internal jumper. In DIR mode Direct Output level is metered. The
PEAK LED monitors the signal at three points: pre-EQ, post-EQ, and
post-fade. The mono module’s audio output is routed to any or all
of the 8 groups, and/or to one or both of the master stereo busses (ST1 and ST2).
The channel’s Direct Output can carry one of two clean feed outputs,
talkback from the over bridge mic XLR input, or the oscillator and
slate oscillator. Clea nfeed 1 Bus carries a mono mix of all inputs
routed to the ST1 mix (not groups); depressing the CLEAN FEED and
ST1 buttons routes this to the Direct Output. With the CLEAN FEED
button depressed and ST1 released, the Cleanfeed 2 bus is used as
the mix-minus source. Clean feed 2 carries a mix from all the input
modules which have their CLEAN FEED but not their ST1 buttons
depressed – ie. all other channels that are using Clean feed 2 Bus.
The desk’s cue system has two modes – if the CUE button is depressed for less than 0.5s it latches electronically, otherwise it
operates in momentary mode. If the channel fader is down when
the cue system is active, then the PFL signal will be put onto the
Cue L and R busses whatever the AFL/PFL settings on the Monitor
Module. The CUE button is reset whenever the channel fader is
moved away from the down position. If the button is pressed when
the fader is already raised, the AFL/PFL signal will be selected according to the position of the AFL/PFL master switch on the
Monitor Module.
The channel remote start/stop facility has two sets of relay contacts,
available via a rear panel D-sub connector. These can be set to
latching or pulse operation via internal jumpers, and are activated
whenever the fader is raised and the On button depressed. This
facility, which only operates when the Line input is selected, also
cancels local mute (if applicable) to open the module channel.
The Stereo Input Module accepts mic or line inputs via
two rear panel XLR sockets. A PHASE REVERSE switch
affects the right channel only, and the +48V mic phantom power switch affects both XLRs. M/S decoding is available, switched in with the M/S button.
The status of the L and R buttons determines whether
the L and R input signals are treated as a stereo pair, are
summed to mono, or whether either signal is routed to
both sides of the stereo channel bus. The TONE switch
operates as on the mono module.
The channel GAIN and TRIM pots operate as on the mono
channel, except that they are affecting a stereo signal.
The stereo channel insert point can be switched in and
out with the INS button; note that the channel signal is
always available on the L & R insert send XLRs, however.
The insert is configured pre or post-EQ, and pre or post fader,
via two internal switches and jumper links.
The EQ is a 4-band swept design, with high-pass filter
and low-pass filters (12dB/octave at 100Hz and 12kHz
respectively). The HF and LF shelving bands both offer
±15dB, at 1kHz-16kHz and 32Hz-500Hz respectively. The
two mid bands offer ±15dB bell-response filters, with Q
fixed at 1.2, and swept centre frequencies from 125Hz-
2kHz and 500Hz-8kHz. An EQ in/out switch is provided.
EQ operates equally on both the L & R parts of the
channel signal.
There are eight auxiliary sends. Aux es 1-6, carrying a
mono summed signal, are controlled by three pairs of
dual-concentric pots, and are switchable pre/post-fade in
pairs. Aux 7 and 8 are both fed in stereo, with dual concentric
pots for level control of left and right
channels. Each can be switched to pre or post-fade
operation. A stereo channel direct output is an option.
The dual-function Balance/Pan pot is, depending on
whether the PAN button is depressed, used to trim the
stereo balance of the channel signal or pan the stereo
signal. The STEREO WIDTH pot provides variation from
mono to phase-enhanced wide stereo.
The panned or balanced signal can be routed, via the six
buttons at the top of the channel strip, to any
combination of the four pairs of groups (1 & 2, 3 & 4, 5
& 6, 7 & 8) and the two stereo master busses. When the
channel signal is routed to groups, the left side is routed
to odd-numbered groups and the right side to evennumbered
groups.
The 100mm channel fader offers +10dB maximum gain.
In addition, any of the four VCA group master faders (on
the Monitor and Communications Module) can add an
offset to the fader level. The 8-segment LED meter can
be set to pre-fade or pre-EQ by internal jumpers. The
PEAK LED monitors the signal at three points L and R:
pre-EQ, post-EQ, and post-fade.
The channel’s optional stereo Direct Output can carry one
of two mono clean feed outputs, talkback from the
over bridge mic XLR input, or the oscillator and slate
oscillator. See mono input for details of clean feed
operation. Cue, mute, and remote start/stop operate as
on the Mono Input Module, except that the PFL feed to
the cue bus is in stereo.
Mono Input
1 Module
2 Stereo Input Module
Two fully independent and fully featured modules are provided for ST1 and ST2, with their own sets
of outputs. The modules are similar apart from the
provision of PSU status LEDs and an on-air switch
on the ST1 module.
The On-Air switch, operated manually or via an
opto-isolator circuit, is used to close a set of relay
contacts, for external signalisation; it also disables
some oscillator and talkback facilities on the
Communications Module.
The Aux master controls are located on both
modules. Each master has a rotary level pot, a
Mute switch, and an AFL button to monitor the
after-fade listen signal via the Cue system.
The Stereo Master inserts can be switched in and
out of the signal path, though the signals are
always available on the Insert Send XLRs.
The stereo limiter functionally operates exactly as
does the limiter on the Group modules, though
there is no LINK switch.
The stereo output from each module is controlled
via a stereo master fader. A mute circuit, operated
remotely, is positioned after the fader. The PEAK
LED monitors both L & R signals, pre-fader, and
illuminates if either comes within 6dB of clipping.
A mono output is also available, jumper selectable
pre or post the limiter. This output has a rotary
level control, offering up to 0dB of gain, Mute
circuit, and PFL. The signal is a mix of the Stereo
Master left and right signals, and is taken pre or
post-fader, as determined by the PRE switch.
Master ST1 & ST2
Modules
The Mono and Stereo Group Modules are almost
identical in operation, providing both Stereo
Return and Group Master facilities. The Stereo
Group offers greater packing density, and is more
suited to applications where groups are always
treated as stereo pairs.
Stereo Return
Stereo Return inputs are via rear panel XLR sockets.
The left and right inputs can be accepted as stereo
or summed mono signals, determined by the
MONO switch. Alternatively, by depressing the BUS
switch the stereo return section will pick up signals
from the 8 group output busses. (Feedback is
avoided as no group can route to itself.) PAN,
LEVEL and MUTE controls are provided.
The post-mute stereo signal can be routed to the
ST1 mix, the ST2 mix, and/or the Group. The
GROUP and BUS switches are interlocked such that
the GROUP switch is disabled if both are depressed
at the same time.
The Stereo Return Cue facility operates in the same
manner as the Cue facility on input channels.
Group Master
The group insert can be switched in and out of the
signal path, and an internal switch sets pre or postfade
operation. Whether the insert is switched in or
not, the group signal always appears at the insert
send XLR.
The Group Mute section, placed immediately before
the fader, can be manually or remotely switched.
An LED is provided to indicate remote mute
activation. A remote control facility for machine start is
available, via relay contacts that are closed when
the fader is raised. The Limiter in the Group signal path offers a 4-
position switch for threshold, 0.5ms or 10ms
attack, and release continuously variable from
200ms to 10 secs. An Auto release facility is also
available, giving 1 sec release time with a 2-stage
release action. An 8-LED gain reduction meter is
provided. On mono groups, the limiter can be
linked to that on the group to its right with the
LINK switch. On stereo groups, the LINK switch is
omitted and operates as a stereo limiter.
The post-limiter signal is sent to the Group Output
XLR on the rear panel. An internal jumper can be
used to configure the module such that the signal
is also passed to the PAN pot and then routed to
any of the ST1, ST2, and eight Group busses. The
left signal is passed to odd numbered groups, and
the right signal to even-numbered groups. The
stereo group is fitted with a balance control,
switchable to pan, and a width image control.
These operate in the same way as on the stereo
input.
Feeds from the group to Auxes 1-8 are controlled by four pots. Each is switchable to control either
the odd or even one of the pairs Aux 1-2, 3-4, 5-6
and 7-8. Each is switchable to pre or post-fade
operation.
The group cue system operates as on Mono and
Stereo Input Modules.
Two level indicator LEDs are provided: the SP LED
illuminates when a signal is present on the Group
mix bus, and the PEAK LED illuminates whenever
the output of the group mix amplifier or the post fader
signal come within 6dB of clipping.
Mono and Stereo
Group Modules
To address the needs of the modern broadcaster the B800
offers a Surround Sound facility based on the industry
standard Magtrax™ system. The same system as is used in the
ground breaking DC2020 and other Soundcraft consoles.
The surround facility comprises two individual items: the B800
Surround monitor/panner control module, as pictured, and the
TV8 8 channel, 6 speaker interface in a separate 2u rack.
With up to 8 monitor channels of 6 speaker surround sound,
the B800 system fully supports all surround formats used in
TV, radio and video. Additionally, it is compatible with all
proprietary systems currently available including Dolby™ and
Ultra Stereo™.
The TV8 also features an 8-channel record/replay insert for use
with a master recorder such as Dolby Dubber™, Tascam DA88
and Akai’s DD8.
The status of speaker level, record/replay and “toggle” plus
solo groups are controlled from the B800 control module
while VME speaker cut groups are easily and quickly assigned.
Software controlled presets allow monitoring levels to be
selected at either 85dB, 88dB or at a user defined level.
Two quad joysticks are routable to all 8 group busses and the
ergonomic control layout lends itself to intuitive, efficient
operation.
Surround Sound
Module
In addition to its communication functions, the
Communications Module also carries VCA Master faders
3 &4, allowing further input channel level control.
The talkback input is derived from the meter bridge
Talkback Mic XLR. Gain is adjusted on the Communications
Module.
Talkback can be routed at any time to the external
Talkback Output and to all Group Outputs, also to any combination of Aux buses 1-8, or optionally, any
combination of the the 8 group outputs. The signal can
also, apart from when the On Air Lock Out LED is lit, be
routed to either of the two Stereo Master outputs, and to
the studio speakers. Talkback to studio headphones is not
“locked out”. There are two sets of studio headphones outputs – Studio
Phones and Guest Phones – plus a Studio Speaker output,
each with their own level control. The input to these three
can be CRM (ie. whatever the control monitor is receiving), ST1, Aux 8, or an external input (via the
Communications Module EDAC). If the Talk To Studio
switch is active, the ST1 stereo signal will be routed in
mono to the left side of the headphones, and talkback to
the right. A Producer-to-Studio input is also available to
the phones, with audio input and control via the Communications Module EDAC and EXT Logic D-sub connector. This signal is similarly routed left, with talkback right, whenever it is present. The Studio Speaker outputs can be manually or externally muted; a LED is provided to indicate if external muting is in operation. A speaker dim facility, linked to an internal
preset pot for dim level, is also provided. The Communications Module’s oscillator, switched in and out via a clear illuminated switch, is routed to the internal tone bus, and also to two sets of balanced outputs on the rear panel EDAC (OSCL & OSCR). A calibration pot controls overall tone level, and a level control attenuates the balanced outputs. The internal tone bus is disabled when the ST1 Module’s On Air switch is active. The oscillator can
be switched to 100, 400, 1k and 10k Hertz, and an EBU
Tone facility is provided to switch the OSCL output such that it is muted for 100ms every 3s. A slate facility is also
provided – the oscillator signal can be routed to the Direct Output of every input module, the talkback signal can be
similarly routed, or the two can be routed simultaneously. (though the oscillator frequency will be automatically set
to 30Hz). Two Option switches are provided, controlling relays available via the Communications Module External Logic D-type connector, for remote control of external devices, lamps etc. The switches also drive talkback contacts for external use via an EDAC connector, with Call LEDs accessed via the Logic D-sub connector. The Monitor Module provides facilities for mono and
stereo monitoring of many internal and external sources, as well as VCA master faders 1 and 2 for adjusting input
module gain. Any one of eight external or six internal sources can be
selected for monitoring. External sources are taken from a
rear-panel 90-way EDAC connector, whilst internal
jumpers allow combinations of the following to be assigned as the six internal sources:
Groups 1 to 8 (mono)
The main stereo mixes of the
ST1 and ST2 Modules (stereo)
The mono mixes of the ST1 and ST2 Modules (mono)
Aux 1 to Aux 6 (mono)
Aux 7 and 8 (stereo)
Stereo sources are normally sent in stereo to the monitor
bus. With the MONO SOURCE L & R switches, however,
either or both the left and right sides of a stereo monitor
source can be sent in mono to both sides of the monitor
bus. Monitor outputs are via two sets of Monitor Speaker
outputs, and to a headphones output.
Both Cue and Monitor signals can be simultaneously
heard in the headphones by depressing the H/P SPLIT
button. The monitor signal is sent (in mono, summed if it
is a stereo source) to the left side, and the cue to the right
side.
The ALT switch is used to switch between the two sets of
monitor speaker outputs. Whichever set is selected is
affected by the right channel phase reverse, balance and
level controls. The L & R outputs can be summed to mono,
and independently muted. Mutes can be executed under
manual or external control. A Dim facility is also available,
cutting monitor output level by a preset level (-20dB is
the default, but this can be changed by jumpers on the
Monitor Module PCB).
Master Cue facilities are provided on the Monitor Module.
The Overbridge Cue Speaker is fed with Overpress Cue
Signals (if the Overpress Option is fitted), the Return
Talkback signal, and (if the correct jumpers are fitted) a
mono sum of the Cue L & R signals. A stereo pair of Cue
Speaker outputs is also provided. Return Talkback and Cue
Monitor have their own level controls.
The Cue Speaker outputs carry PFL and AFL signals via the
Cue L & R busses. These signals are muted with the
Overpress facility (if fitted), if the appropriate jumpers are
fitted.
The Cue L & R busses can be switched from the Cue
Speakers Output to the Monitor Outputs, and a master
switch is provided to select PFL or AFL operation from the
various Cue switches on the console. All CUE switches can
be reset from the monitor module.
Communications
Module
Monitor Module
Module Jumper/Link Options
Mono Input Module
Links 1-4 Pre-fade insert point Pre or (default) post-EQ
J1 Used for VCA option
J2 VCA ground Local (default) or Master 0V
J3 Remote start/stop Pulse start/stop (default) or latched on/off operation
J4 Remote switching Enabled (default) or disabled
J5 Remote switch function Start pulses only or latching start/stop (default)
J7 Stereo aux source Pre (default) or post-mute
J8 Mono aux source Pre or post mute (default)
J9 Slate/cleanfeed relationship Mutually exclusive or simultaneous (default) in Direct Output
J10 Meter feed Pre-EQ/pre-fade (default) or post-fade in DIR mode
J11 Remote common Allows signalisation interlock with master and group modules, ie. operates autonomously (default),
or only when all ‘remote’ modules in signal path have faders raised
J12 Signalisation Studio speaker mute activated (default) or Monitor Dim activated.
J13 Signalisation Either when line input is selected or when mic input is selected (default)
J14 Channel meter Follows either channel input (default) or Direct Output switch
J15 Direct Output source Enables Direct Output in DIR mode to be pre or post-fade
J16 Remote Start Operates in either Mic or Line mode (default)
Mono Group Module
Jumper options
J1 Remote common Allows signalisation interlock with master and input modules, ie. operates autonomously (default),
or only when all ‘remote’ modules in signal path have faders raised
J2 Talkback to group Talkback replaces (default) or mixes with program in Group Output
J3 Slate (Osc to groups) Replaces (default) or mixes with program
J4 Effect of On-Air switch on talkback No effect (default) or kills talkback to group output
J5 Limiter Post-limiter signal sent to stereo bus/group routing switches and Group Output,
or (default) limiter affects signal from Group Output only
J6 Limiter pre-emphasis Pre-emphasis or no pre-emphasis on limiter side chain
J7 Aux 1-6 pre-fade source Pre or post-mute(default)
J8 Stereo auxes 7/8 pre-fade source Pre or post-mute(default)
Internal switch options
S30 Insert point Pre (default) or post-fade
Stereo Master Modules
The Stereo Master Module can be supplied with three fader options:
a single VCA control fader; a stereo audio fader; or two mono faders
J1 Remote common Allows signalisation interlock with group and input modules, ie. operates autonomously (default),
or only when all ‘remote’ modules in signal path have faders raised
J2 & J3 Mono output Post-fade, pre-limiter or post-limiter (default)
J4 Talkback Talkback replaces (default) or mixes with program
J5 & 6 Limiter pre-emphasis Pre-emphasis or no pre-emphasis (default) on limiter
Monitor Module
J1 Ext. 8 input Set for +4dB or -10dBV
J2, J3 & J4 Monitoring Cue to monitor/talk to studio (2 monitor modules)
J5, J6, J7, J8 & J9 Talkback Selections for control room or studio
J10 & J11 Cue speaker outputs Cue signal output routing. Internal/External feed & overpress
J12 Cue to headphones Allows cue to mix (default) or replace prog.
J13 Monitor dim bus Enables monitor dim (default) or monitor mute
J14 Studio dim bus Enables studio mute (default) or studio dim
Comms Module
J1 & J2 Option 1 & 2 switches Feed T/B to the external destinations. When not operated these can be either
an external cue input signal (default) or no signal (grounded).
J3 Talkback to studio speakers Mute kills T/B to speakers (default) or T/B overrides mute.
J4 Talkback to studio speakers T/B mixes with prog (default) or replaces prog.
J5 & J6 Cleanfeed options These jumpers allow engineer talkback to cleanfeed 1, cleanfeed 2, or to neither bus (default).
Internal monitor source selection
The Monitor Module’s bank of Desk ‘A’ switches allow you to select any one of six internal monitor signals.
The sources of these six signals are determined by links on an internal scramble card., from:
Groups 1 to 8 (mono)
The main stereo mixes of the ST1 and ST2 Modules (stereo)
The mono mixes of the ST1 and ST2 Modules (mono)
Aux 1 to Aux 6 (mono)
Aux 7 and 8 (stereo)
In addition to these, there are also two feeds, Spare L & R, which can be used to monitor any point in the console.
Meterbridge Speaker
The Meterbridge speaker feed is
sourced from the Monitor Module and
has its own volume control
Talkback Mic
The talkback mic socket is routed onto the Talk
Bus via the Communications Module.
Meter Selector Panel
This panel allows you to monitor a variety of
console signals. The meters which would be used in
conjunction with this panel may be chosen from a
range of Soundcraft meter panels which are
available from your dealer. It is suggested that a
suitable choice would be an L/R pair + phase
correlator.
Selector Switches
There are six sources for monitoring: STEREO 1
monitors the Stereo output of the ST1 Master
module, STEREO 2 monitors the Stereo output of
the ST2 Master module, MONO monitors the Mono
ouputs from the ST1 and ST2 modules (ST1 on the
left meter, and ST2 on the right meter), EXTERNAL
monitors any signal placed on the external Input L
and R XLRs on the meterbridge rear connector
panel, MONITOR monitors the Monitor Module’s
output (to output speakers), and STUDIO monitors
the Studio Speakers.
Cue Override
If the CUE OVERRIDE switch is depressed, an
Overpress or Cue generated from the console will
replace the selected meter source. The green CUE
WARNING lamp will light whenever a Cue or
Overpress signal is present.
M/S
Mainly used to decode an M/S source for display in
L/R mode. The M/S switch also encodes an
incoming Stereo L/R signal into M/S for display on
the meters. The +20dB switch works in conjunction
with the M/S switch: it boosts the S signal by
+20dB.
VCA External
The red VCA EXTERNAL lamp illuminates to indicate
external VCA control, from AFV interface.
B800 Meterbridge Modules

The meterbridge of the B800 is designed to accept DIN standard and Nordic cassettes (European and Scandinavian
standards), with apertures based on modules measuring 190x40mm (height x width)*. For example TRW & NTP Meters.
Meterbridge sizes
Console Meterbridge
24-module frame 14 slots
32-module frame 20 slots
40-module frame 26 slots
48-module frame 33 slots
56-module frame 39 slots
B800 Meterbridge Options
Rear Panels
B800 System Components
Frames
B800 24-module frame (13-slot meterbridge) . RW5251
B800 32-module frame (20-slot meterbridge) . RW5252
B800 40-module frame (26-slot meterbridge) . RW5253
B800 48-module frame (33-slot meterbridge) . RW5254
B800 56-module frame (39-slot meterbridge) . RW5255
Modules
Mono Input . RS5952
Mono Input with input transformer RS5952TX
Mono Input with P&G fader RS5952PG
Mono Input with P&G fader and input transformer . RS5952PGTX
Mono Input with P&G overpress . RS5952OP
Mono Input with P&G overpress & transformer . RS5952OPTX
Stereo Input . RS5953
Stereo Input with input transformers (2) RS5953TX
Stereo Input with P&G fader . RS5953PG
Stereo Input with P&G fader and input transformers RS5953PGTX
Stereo Input with P&G overpress RS5953OP
Stereo Input with P&G overpress & transformers . RS5953OPTX
Mono Group . RS5954
Mono Group with output transformer RS5954TX
Mono Group with P&G fader . RS5954PG
Mono Group with P&G fader and output transformer . RS5954PGTX
Mono Group with P&G overpress RS5954OP
Mono Group with P&G overpress and output transformer RS5954OPTX
Stereo Group RS5955
Stereo Group with output transformers RS5955TX
Stereo Group with P&G fader . RS5955PG
Stereo Group with P&G fader and output transformers RS5955PGTX
Stereo Master 1 RS5956
Stereo Master 1 with output transformers (2) RS5956TX
Stereo Master 1 with P&G fader . RS5956PG
Stereo Master 1 with P&G fader and output transformers RS5956PGTX
Stereo Master 2 RS5957
Stereo Master 2 with output transformers (2) RS5957TX
Stereo Master 2 with P&G fader RS5957PG
Stereo Master 2 with P&G fader and output transformers RS5957PGTX
Monitor Module RS5958
Monitor Module with P&G faders RS5958PG
Comms Module RS5959
Comms Module with ext. T/B input transformer RS5959TX
Comms Module with P&G faders (2) . RS5959PG
Comms Module with P&G faders and transformer RS5959PGTX
Blank Module . PH1263-01
Meterbridge Options
8 x DIN PPM (-40, +5) meter panel 10 slots RS5779
4 x DIN PPM (-40, +5) meter panel 5 slots . RS5788
8 x BBC PPM (1-7) meter panel 10 slots RS5783
4 x BBC PPM (1-7) meter panel 5 slots . RS5786
8 x EBU PPM (-12, 0, +12) meter panel 10 slots RS5784
4 x EBU PPM (-12, 0, +12) meter panel 5 slots . RS5787
8 x professional VU meter panel 10 slots RS5782
4 x professional VU meter panel 5 slots . RS5785
2 x DIN PPM (-40, +5) plus phase correlator 5 slots . RS5826
2 x BBC PPM (1-7) plus phase correlator . 5 slots . RS5824
2 x EBU PPM (-12, 0, +12) plus phase correlator . 5 slots . RS5825
2 x professional VU meters (-40, +5) plus phase correlator . 5 slots . RS5823
3 x DIN PPM (-40, +5) meter panel 5 slots . RS5830
3 x BBC PPM (1-7) meter panel 5 slots . RS5828
3 x EBU PPM (-12, 0, +12) meter panel 5 slots . RS5829
3 x professional VU meters (-40, +5) meter panel 5 slots . RS5827
1 x Twin Needle PPM (1-7) Meter Panel 3 slots . RS5899
2 x Twin Needle PPM (1-7) Meter Panel 5 slots . RS5900
2 x Twin Needle PPM + Phase Correlator . 5 slots . RS5901
RTW 1113 DIN stereo bargraph meter 1 slot RS5780
RTW 1119 DIN stereo bargraph meter plus phase correlation meter 1 slot RS5781
10 x 40 segment led aux meters VU . 8 slots RS5855V
10 x 40 segment led aux meters PPM 8 slots RS5855P
10 x 40 segment led master VU 8 slots RS5857V
10 x 40 segment led master PPM . 8 slots RS5857P
8 x 40 segment led group VU 8 slots RS5856V
8 x 40 segment led group PPM . 8 slots RS5856P
Single meterbridge blank . 1 slot . PB0682-01
Dual meterbridge blank . 2 slots PB0685-01
4-way meterbridge blank . 4 slots PB0686-01
8-way meterbridge blank . 8 slots PB0687-01